REVIEW: Sevenars Music Festival, "Opening Family & Friends Concert"

The Academy, Worthington, MA

www.sevenars.org

July 14, 2024

by Michael J. Moran

Davis James, 1947-2025

The opening concert of this beloved summer festival’s 56th season was dedicated “in loving tribute to David Frank James,” who died two months ago. Husband of the late Robelyn Schrade-James (after whose parents and their five children, all having first names that start with R, the festival is named), David was a frequent Sevenars pianist. Today’s program honored his memory and celebrated his legacy.

After a brief, heartfelt eulogy, David’s daughter, pianist Lynelle James, played a charming “Two Little Birds,” by Frank Hutchens, which David, a fellow New Zealander, had brought to Carnegie Hall in his debut there. Family friend and regular Sevenars guest pianist Clifton J. (Jerry) Noble then introduced and premiered an affecting “Elegy for David” that he wrote for this occasion, based on the letters of David’s name and performed with noble gravitas.

Host and pianist Rorianne Schrade next offered a jubilant “Etude-Tableau” in E-flat Major, Op. 33/7, a rare work of pure joy by Sergei Rachmaninoff, which she first heard David play. After echoing his sister’s earlier sentiments, David’s son Christopher, primarily a cellist, nonetheless delivered a rip-roaring solo piano rendition of Franz Liszt’s “Mephisto Waltz No. 1,” a concert favorite of his father.

Lynelle then joined her aunt Rorianne (sitting in for the originally scheduled David) in a vividly expressive reading of Johannes Brahms’s two-piano arrangement of his “Variations on a Theme by Haydn.”

 

Noble next partnered Rorianne in an exuberantly jazzy take on George Gershwin’s “Rhapsody in Blue” in its original two-piano version in this 100th anniversary year of its debut. Lynelle rejoined Rorianne for a colorfully virtuosic "Jupiter" from Gustav Holst’s orchestral suite “The Planets” in a seldom-heard arrangement by the composer for two pianos during this 150th anniversary year of his birth.

 

The program’s closing surprise was inspired by Rorianne’s memory of her late mother, Rolande Young-Schrade, lamenting how hard it was to gather her musical family in one room. So after Rorianne began playing her own arrangement of the lively “Dargason” from Holst’s “St. Paul’s Suite,” other members of the extended Schrade-James family entered one by one to join her, from Lynelle and Noble to Rorianne’s husband Jeff and Lynelle’s toddler son Robie, as she held him and shook his rattle. It was magical, and David would have loved it.

Remaining Sevenars concerts, next presenting renowned local violist-violinist Ron Gorevic, are scheduled for Sundays July 21-August 18 at 4 pm.

REVIEW: Boston Pops Orchestra, "Broadway Today! Broadway’s Modern Masters"

Boston Pops Orchestra, Tanglewood, Lenox, MA

www.bso.org/tanglewood

July 6, 2024

by Michael J. Moran

Joan Tower

One special joy of Tanglewood is the free short “Prelude” concerts which precede many weekend evening concerts. Tonight’s “Prelude” in the Linde Center’s bright and airy Studio E featured chamber music by three composers, played by 15 fellows of the Tanglewood Music Center. Spry-looking, 88-year-old Joan Tower cheerfully announced, “I’m still alive!,” in introducing her effervescent 15-minute 2020 string quintet “Purple Rain.”

Next came George Walker’s colorful two-movement 1999 woodwind quintet “Wind Set.” The program closed with the young Beethoven’s energetic 1796 quintet for piano and winds. All three pieces received polished and invigorating performances.

The main event was a semi-staged concert in the Koussevitzky Music Shed of highlights from 11 Broadway musicals of the 21st century, written by nine composers and/or lyricists, played in sumptuous arrangements by the full Boston Pops Orchestra under Keith Lockhart, and sung by six current Broadway stars. The shows, their creators, and the singers included many Tony Award recipients.  

An opening suite from Adam Guettel’s “The Light in the Piazza” featured a plush overture, Scarlett Strallen’s ravishing take on the stirring title song, and Victoria Clark’s poignant recreation of her Tony-winning role in the heartrending “Fable.” Bryce Pinkham revisited his starring title performance in Steven Lutvak and Robert L. Freedman’s “A Gentleman’s Guide to Love and Murder” with a winsome “Foolish to Think” and a hilarious “Poison in My Pocket.”

Mandy Gonzalez, Darius de Haas, and Joshua Henry were all impressive in excerpts from David Yazbek’s “The Band’s Visit.” Pinkham sang a powerful “You Will Be Found” from Benj Pasek and Justin Paul’s “Dear Evan Hansen.” A Latin-flavored orchestral “In the Club” from Lin-Manuel Miranda’s “In the Heights” preceded Henry, Strallen, and Pinkham in three piercing selections from Jason Robert Brown’s “Parade.”

Photo by Hilary Scott

Gonzalez was as sensational in “Our Lady of the Underground” from Anais Mitchell’s “Hadestown” as de Haas was mesmerizing in “Memory Song” from Michael R. Jackson’s “A Strange Loop.” Clark movingly reprised her Tony-winning title role in two songs from Jeanine Tesori and David Lindsay-Abaire’s “Kimberly Akimbo.”

She completed her evening star turn as King George III in Miranda’s blockbuster “Hamilton,” turning the chorus of “You’ll Be Back” into a riotous crowd singalong; Henry was a forceful Aaron Burr in “The Room Where It Happened.” The full cast ended on a hopeful note with a rousing “Wait ‘til You See What’s Next” from Brown’s “Prince of Broadway.”

Subtle direction by the evening’s creator, Broadway star and frequent Pops collaborator Jason Danieley, and music supervision by Georgia Stitt further enhanced this memorable musical event.

Review: Great Barrington Public Theater, "Survival of the Unfit"

Great Barrington Public Theater, Great Barrington, MA

www.GreatBarringtonPublicTheater.org

July 6 - July 21, 2024

by Suzanne Wells

“Survival of the Unfit,” penned by Oren Safdie and directed by Matthew Penn, is not your typical “boy meets girl, falls in love, and lives happily ever after” story. The play shatters the mold of conventional romance with a comedic glimpse into a seemingly flawless, yet deeply flawed family dynamic.

Setting the stage, Samuel has invited his new girlfriend, Mallory, to dine with his parents. The parents, who appear to see only the flaws in their son, are convinced there must be something wrong with the girl. While his father, John, is more than willing to accept her shortcomings, his mother, Shirley, is ruthless in her scrutiny.

Carolyn Hennesy’s depiction of Shirley is outstanding as she embodies the role of critical, over-protective mother. The catalyst for unearthing all Mallory’s secrets, Hennesy’s relentless probing ignites a series of revelations that spiral into a dramatic unmasking of her own concealed indiscretions.

Vincent Randazzo portrays Samuel, a middle-aged, balding, man crushed by his parents’ low expectations. Randazzo captures the essence of a son beleaguered by criticism, both overt and insidious. His nuanced performance subtly hints at an evolving tension. 

In contrast, Sarah Keyes as Mallory, is a beautiful, educated woman from a wealthy family exuding confidence and a subtle dramatic flair. Keyes’ dynamic interpretation keeps the audience captivated, as they ponder what draws her to Samuel.

Daniel Gerroll, as John, is the epitome of dry humor, his timely asides accentuating the underlying imperfections of a long-married couple. His delivery is impeccable with each jest and costume change adding a layer of levity to the unfolding drama.

Scenic design by Juliana von Haubrich creates a middle-class abode that balances lived-in warmth with meticulous order. The walls are lined with impressionist paintings, and family photos. Books, sculptures, and drink cart create a lived-in feel while maintaining an air of everything-in-its-place perfection.

“Survival of the Unfit” is a comedic exploration of the human condition delving into the complexities of insecurity, self-doubt, and fear, which when acknowledged and accepted, become the threads that weave a tapestry of human connection and forge enduring bonds.

Review: Berkshire Theatre Group, “Mel Brooks’ Young Frankenstein”

Berkshire Theatre Group, Pittsfield, MA

www.berkshiretheatregroup.org

through July 21, 2024

by Shera Cohen

“Funny” is one of the best adjectives to describe the talents of Mel Brooks. To be accurate, “raunchy funny” is à propos for “Mel Brooks’ Young Frankenstein” (“YF”) at Colonial Theatre.

The musical is essentially the mirror image of the movie version (1974) starring Gene Wilder. For those who have not yet seen the movie or video in any shape or form on various  electronic devises, then experiencing it live is almost better; sans Wilder, Madeline Kahn, Marty Feldman, et al.

Photo by David Dashiell & Caelan Carlough

Apparently, the original Frankenstein had some family members who begat offspring and one of these is Dr. Frederick Frankenstein; pronounced “Frank-en-stEEn”. Like his predecessor, Fred is a scientist whose specialty is study of the brain. For first-hand knowledge on the original Frankenstein, he must travel to Transylvania. Along the way, he meets a sexy assistant, a hunchback servant, and a seemingly prim housekeeper. The plot concerns the creation of another monster in the la-BOR-a-tory.  

The true stars of BTG’s production are the people who the audience does not see: the professionals on lighting, sound, scenic, and projection as well as director Gerry McIntyre who has assembled a wonderfully creative team with imagination and a sense for sheer fun.

Segments of the “Frankenstein” silent movie begin the entertainment. Soon coupled with lightning effects and thunderous sounds, the musical within the movie begins with screen credits, as if it was an actual 1910 cinema on the stage. The macabre echoes continue into the theatre’s lobby and entry.

“Clever” is the word to explain the video projections in each scene, especially those outdoors. Sepia stills or moving video backdrops help to accentuate each segment. Yes, there are the usual walls, bookcases, and stairs. Special to “YF” are the dark scrims, netting, and shadows, making everything on stage look bigger and spookier.

Unexpected from a comedy filled with ridiculous characters, each actor’s voice is near-flawless. All leads can boast Broadway credits. The accompanying 5-piece band sounds much bigger.

Nothing in “YF” is serious. Even the love stories have no dramatic or lovely songs. Instead, the most hilarious tunes (each sung by female soloists) are: “Roll in the Hay,” “He Was My Boyfriend,” and “Deep Love”.

There’s not a lot of dancing. Yet, McIntyre, who doubles as choreographer, lets his full cast have a ball “Puttin’ on The Ritz”. Is this scene important to the story? No. In fact, it’s rather inane. However, watching a reformed monster tap dance is a showstopper.

At this performance, the audience was a bit atypical from those who populate summer musicals. The group was younger. Had they heard of the 2000-year-old man? Or seen “Blazing Saddles”? Or like to laugh on a smoldering hot Saturday in a beautiful, air-conditioned theatre in Pittsfield? At any rate, there they were in droves. 

Note: Not recommended for young children.

REVIEW: Jacob’s Pillow, The Royal Ballet

Jacob’s Pillow, Becket, MA

www.jacobspillow.org 

through July 7, 2024

by Josephine Sarnelli

The debut of the 93-year-old United Kingdom’s Royal Ballet at Jacob’s Pillow offers an opportunity to enjoy a performance of both classical and modern ballet of unchallenged magnitude.  For most in attendance, it is a once-in-a-lifetime event to see this internationally acclaimed troupe.  Jacob’s Pillow’s leadership must be commended for finding sponsorship to make this the company’s sole stop in the United States!     

The Ted Shawn Theatre, with its orchestra pit, allowed for live music by a string quartet and pianist for three of the nine pieces. The backstage doors were opened after intermission to further enhance the unique experience of dance on the Pillow stage.

If there is a word to describe the success of this performance, it is “chemistry.”   Observing the connection between the performers and the audience and among the dancers is a significant part of attending live dance.  The Royal Ballet has not only mastered the art of dance, but also these relationships in solos, duets and groups.  From the kiss by Lukas Brændsrød on the hand of Sarah Lamb in Balanchine’s “Diamonds” to the dropping of the rose by Giselle after saving the life of her lover, there was a feeling of intimacy in these performances.

Photo by Christopher Duggan

One of the highlights of the evening was the choreography by Kenneth MacMillan of the “bedroom” pas de deux from “Manon.”  Anna Rose O’Sullivan and Marcelino Sambé dance superbly with effortless overhead lifts, but it is the passion that they expressed through their dance that is most memorable.  Their magnetism made the embraces and kisses seem so genuine.

An excerpt of Franz Schubert’s “Death and the Maiden” was performed flawlessly by the string quartet for the performance by four male dancers entitled “For Four.”  The transitions were executed with precision; the athleticism and grace of the dancers was impressive.  Of note was the audience’s recognition of Daichi Ikarashi’s powerful performance, which included multiple grand jetés exploding across the stage.

For Isadora Duncan fans, the program included a solo dance choreographed in her novel and improvisational style.  It was danced to five Johannes Brahms waltzes that were beautifully performed by piano soloist Kate Shipway.

A lighthearted pas de deux from “Carousel” preceded the finale.  “Figures in a Landscape,” a world premiere choreographed by Wayne McGregor, had a futuristic texture with dissonant music and blinding lights. Without transition, the music abruptly changed to a more subdued score.  Unlike the other program selections, this piece lacked sincere connectivity among the dancers or with the audience.  Although technically well executed, the performance was a disappointing conclusion to an otherwise outstanding evening.

Unfortunately, the audience was not given an opportunity to applaud the entire dance troupe or musicians after the finale.  Had they been called back, they certainly would have received a well-deserved standing ovation, having lived up to their name of royal.

REVIEW: Berkshire Choral International, "Vaughan Williams"

UMass Amherst Fine Arts Center, MA

www.berkshirechoral.org

June 29, 2024

by Michael J. Moran

Joe Miller

Joe Miller, Professor of Conducting & Director of Choral Studies at Cincinnati College-Conservatory of Music, led the 130-member BCI chorus, baritone Emmett O’Hanlon, soprano Laura Strickling, and a freelance ensemble of area professional musicians in two masterpieces by English composer Ralph Vaughan Williams for an evening of choral-orchestral magic.   

Since 1982, BCI has gathered experienced amateur singers from across the USA during the summer for weeklong intensive rehearsals in various American and international venues, culminating in a public performance at the end of the week. While still based in the Berkshires, this was their only local concert in 2024.

 

The program opened with “Five Mystical Songs,” which Vaughan Williams wrote in 1911 for the Worcester Three Choirs Festival and based on four poems by George Herbert (two songs set different verses of the same poem). O’Hanlon’s supple baritone suited the music’s radiant beauty. The chorus was hauntingly expressive in the wordless final bars of the cycle’s sublime centerpiece, “Love Bade Me Welcome,” and ardently ringing in the jubilant closing “Antiphon.” Miller and the orchestra offered sumptuous support throughout.

Then came a thrilling account of the composer’s first symphony, which he called “A Sea Symphony,” because the texts in all four movements are selections from Walt Whitman’s “Leaves of Grass” which compare a sea voyage to the human journey through life. Written between 1903 and 1909, the hour-long piece was first played at the Leeds Festival in 1910.

The first movement, “A Song for All Seas, All Ships,” was urgently dramatic, and the chorus, O’Hanlon, and Strickling all sang their solo passages with heroic heft. O’Hanlon was mesmerizing in the quiet second movement, “On the Beach at Night, Alone.” The chorus (without soloists) was virtuosic and nimble in the explosive third movement, “The Waves.” The finale, “The Explorers,” alternated exhilaration with yearning and closed quietly on the lines “O farther, farther, farther sail!” Miller kept the huge ensemble of musicians in sonorous balance.  

The warm and spacious acoustic of the Fine Arts Center’s Tillis Performance Hall showcased the clear enunciation and carefully modulated phrasing of the singers along with the impassioned playing of the instrumentalists. Full texts were provided in the digital program.

This concert was a glorious feast for the ears of all choral music lovers.

Review: Goodspeed, “South Pacific”

Goodspeed Musicals, East Haddam, CT

www.goodspeed.org

through August 11, 2024

by Shera Cohen

Opening on Broadway in 1949, “South Pacific” won a slew of Tony Awards. Set toward the end of WWII, composer and lyricist Rodgers & Hammerstein placed their micro-story into the behemoth history of the war in the Pacific.

The musical is lauded for its balanced measure of love, joy, and happiness; with a sobering mood of bigotry, hatred, and death in wartime.

The best of “South Pacific” is the music, particularly the ballads. It would take a cast and crew of first timers to mess that up. Not to worry, Goodspeed’s orchestra led by Adam Souza, and nearly all singers make this musical special some 75-years after its premiere.

The plot is simple: two love stories along with the intrigue of a spy mission, and its repercussions to the couples.

Danielle Wade, Nurse Nellie Forbush, plays spunky well with her southern twang and body
movements. Her first scene with her potential lover, shows her with arms crossed tightly. Later on, when she’s “In Love with a Wonderful Guy,” she’s jumping and doing cartwheels. The audience realizes some of her transformation, but it’s not convincing. Perhaps if Wade was charged with one dramatic solo, the audience would care for both the character and actress more. 

Omar Lopez-Cepero, Emile de Becque, her handsome counterpart with French accent and swarthy frame, looks and sounds like opera star Jonas Kaufman. Even if Nellie has her doubts, the audience loves him. Thank goodness that this amazingly talented baritone is given the opportunity to showcase two of the most lush and romantic blockbuster solos from a musical: “Some Enchanted Evening” and “This Nearly Was Mine”. The actor’s  stance and speech are understated, giving even more power and depth to his songs.

Other important roles are those portrayed by Cameron Loyal (the stoic Lt. Cable) and Keven Quillon (the affable Billis). Joan Almedilla, in the pivotal role of Bloody Mary, punctuates her dialogue with sass, yet sings her signature piece, “Bali Ha’i” as a haunting whisper.

Speaking of the Island Bali Ha’i, the image is back, center, and ever-present on stage. Lighting design makes minor visual effects. Once on the island, the setting becomes a curtain-like multi-colored drop representing a floral forest. The attempt at an island paradise doesn’t work. Too busy. It overpowers the placement of the characters so much that the second pair of lovers are nearly obliterated. Lighting and light-colored costumes might fix the problem. 

Photo by Diane Sobolewski

As in nearly all musicals are the big-dance numbers. “South Pacific” is not lacking: “There’s Nothing Like a Dame,” “Bloody Mary,” and “I’m Gonna’ Wash that Man Right Outta’ My Hair’’. Choreographer Parker Esse makes all three segments fun.

It is sad that much of the plot’s mood tackles the subject of prejudice and ignorance, especially involving the two couples. That theme may have changed a bit in past decades? Director Chay Yew does not beat the characters or the audience up on the subject, although discrimination is ever-present.

And the audience? Too often, those seated immediately give standing ovations as if required. If a S.O. is appropriate, then rise. Anyone who attends theatre knows that cast members take bows in descending order – smallest roles first, leading up to the stars. This does not mean that those in lesser roles are not skilled and/or deserving of praise.

Bravo to Goodspeed’s discerning audience, clapping politely, yet showing true appreciation at the entrance of Ms. Almedilla (Bloody Mary) and again for Mr. Lopez-Cepero (Emile). 

Review: Jacob’s Pillow, “Les Ballets Trockadero de Monte Carlo”

Jacob’s Pillow, Becket, MA

www.jacobspillow.org

through June 30, 2024

by C. L. Blacke

 

World famous Les Ballets Trockadero de Monte Carlo opens the Pillow’s 2024 festival with a hilarious romp through classic ballets, bringing sheer delight and raucous laughter to audiences in their first appearance at the Ted Shawn Theater since 2010.

 

Celebrating 50-years of subversive and comic dance, the Trocks (as they’re lovingly called) were formed in 1974 in the wake of the Stonewall Uprising in New York City. Since its inception, the all-male repertory company has been providing a stage to male dancers of all shapes, sizes, races, classes, gender identities, and sexual orientations. No longer is classical ballet reserved only for the traditional, the aesthetic, or the elite.

 

The program opens with Swan Lake, Act II. True to its demanding choreography with all its precision and rigor, the Trocks’ version also brings their special brand of slapstick. Odette, performed by Colette Adae, tantalizes en pointe, perfecting a (sometimes exhausting) flutter of arms, barrage of bourrées and multi-partnered lifts despite being chased across the stage by the grimacing and overly dramatic Yuri Smirnov as Von Rothbart.

 

But it’s the corps de ballet that steals the performance. One dancer in particular, Anya Marx, whose upstaging antics play directly to the audience, provokes hoots of joy from the rafters.

 

As the lights dim after intermission, the Balanchine satire Go for Barocca showcases a complex weaving of dancers in simple black skirts, an intricate tangle of arms, and the sassy facial expressions of Holly Dey-Abroad.

 

Photo by Christopher Duggan

However, the program’s comedy isn’t just limited to the personas, wigs, and choreography. It encompasses missed musical cues, misplaced spotlights, and trick costumes as well. Perhaps one of the most famous solos in classical ballet (and in the Trockadero repertoire), The Dying Swan flaunts Olga Supphozova's panache, who dies a horrifying, tragic (and rather prolonged) death in a pile of molting feathers that is worthy of any Shakespearean actor.

 

And if the Trocks’ professional dancing skills ever come into question, the Paquita finale leaves no room for debate. From effortless grand jetés and fishtail lifts to a dizzying array of chaine turns and fouettés, their technical strengths are evident, especially in Varvara Laptopova’s graceful performance that rivals any traditional prima ballerina.

 

These men are more than just drag queen divas dressed in tutus. They proudly embody diversity, inclusion, and access to the ballet world (right down to the ballerina wearing glasses onstage); and the audience demands more.

REVIEW: Chester Theatre Company, “The Thin Place”

Chester Theatre Company, Chester, MA

https://chestertheatre.org

through June 30, 2024

by C. L. Blacke

Photo by Andrew Greto

Chester Theatre Company’s 2024 season opener, “The Thin Place,”, written by Obie Award winner Lucas Hnath, weaves a complex tapestry of psychological and supernatural elements. The minimalist stage design—a stark setting of two chairs, small table, and a single red light bulb against black walls—creates an intimate atmosphere ripe for the unfolding of a ghost story that blurs the line between reality and illusion.

Immediately breaking the fourth wall, Hilda, embodied by Tara Franklin with a childlike naivety and openness to belief, holds a haunting conversation with the audience about the bond she once held with her grandmother. Their relationship had been marked by an attempt at psychic communication that was met with disapproval and labeled as “demonic” by Hilda’s mother. Soon after, tragedy befell the grandmother (who remains nameless throughout) and a sudden mystery surrounding Hilda’s mother adds another layer of intrigue and unanswered questions.

As Hilda grapples with familial loss, she explains how she found solace in Linda, the cheeky (and foul-mouthed) medium to the thin place, portrayed by Diane Prusha. Linda becomes a friend and a replacement for the maternal figures Hilda has lost and offers comfort through supposed communications with the deceased grandmother. 

The story itself is told in a retrospective style with little action happening in the present time. Instead, characters come to life to deliver their dialogue at the appropriate intervals. And though the greater part of the play unfolds slowly, “The Thin Place” intensifies as conflicts arise during a dinner party. Linda and friends Sylvia and Jerry (played by Equity actors Syliva McKown and Jordan Bellow, respectively) argue about the morality of telling lies vs. the truth.

Director Gabrielle Farrah, former Directing Fellow at Playwrights Horizons and Producing Fellow at Clubbed Thumb, employs a splattering of classic horror conventions as the play progresses that heightens the suspense. Likewise, technical elements, such as disturbing lighting techniques and jarring sound effects, are also used to strike sudden bouts of fear.

The climax more than fulfills the play’s initial promise of a chilling atmosphere, and a feeling of unease sticks with the audience long after they have clutched the edge of their seats for the last time.

REVIEW: Shakespeare and Company, “A Body of Water”

Shakespeare and Company, Lenox, MA

www.shakespeare.org

through July 21, 2024

by Jarice Hanson

 

As the Berkshire theater season begins, Shakespeare & Company (S&Co.) has opened its outdoor Roman Garden Theatre with a new twist on a script by the noted playwright, Lee Blessing. “A Body of Water” was originally produced in 2005 and was immediately compared to Ionescu’s “The Chairs” – an existential treatise on loneliness and alienation.

 

Photo by Ken Yotsukura

In this updated version of “A Body of Water,” two middle-aged people, Moss and Avis, awake in an unfamiliar house that is surrounded by water. The veranda of the house indicates comfort and the satisfaction of all creature needs, but something is wrong.  Moss and Avis don’t seem to know each other. Or do they?  As they seek to understand their identities and try to uncover the truth about their relationship, the water around the house ebbs and flows—changing all of the time, as does their sense of what is real and what is not.

 

The couple tries to find clues to their own identities and how they got to the house, when a young woman named Wren appears. Who is she? Why does she know them, and why is she so secretive? The play is described as a “comedic thriller” which is a pretty good description, that also leaves its audience with plenty of questions to ponder.

 

The couple are played by Bella Merlin (Avis) and Kevin O’Rourke (Moss), whose chemistry grows as they learn more about each other. As characters, both Merlin and O’Rourke are the real deal—they are natural, but complex; they speak like real people, but project their voices in this outdoor theatre, like the skilled actors they are. 

 

The young woman who stirs the pot of this pot-boiler is played by Caroline Calkins, a veteran of 10-years with S&Co. who looks to be the right age to be Moss and Avis’ daughter, adding to the unfolding mystery. Calkins is bubbly and energetic. She infuses the developing dynamics and drives the pace of this puzzle while charming each of the actors, and the audience.

 

This complex script would be hard to follow if it were not in the hands of a skilled director, James Warwick. His sense of playful mystery allows the humor to shine, while the undercurrent (pardon the water pun) is full of threat and secrecy. Warwick successfully directed the 2012 production of Blessing’s “A Walk in the Woods” at S&Co. a couple of years ago, and it is clear that he understands the layers of depth Blessing writes.

 

“A Body of Water” gives the audience plenty to think and talk about. The story is not neatly wrapped up, but that’s not important. The point of this play is to question who we are at various stages of our lives, and accept what we can, while never having all the answers. In this reflective production, audiences will have much to think about. 

Review: Barrington Stage Company, “La Cage aux Folles”

Barrington Stage Company, Pittsfield, MA

www.barringtonstageco.org

June 11-July 6, 2024

by Shera Cohen

Father’s Day was the perfect date to see “La Cage aux Folles”. The heart of “La Cage” is love, sacrifice, and trust; all qualities of the best of dads.

Yes, it’s glitzy, bold, funny, and charming. BSC has, again, created an exceptional season opener musical in their 30th year.

Central characters Georges and Albin, long-time married, are still in love with each other and with life. The characters are self-described near-opposites – one gay and the other a drag-queen. To their world on a cabaret stage in Saint-Tropez, France, they are the epitome of family. To outsiders, not the case. This musical’s question might be, “Who set the rules”?

Photo by Jeremy Daniel

Tom Story (Georges) and Alex Michaels (Albin aka ZaZa) give equally balanced
performances; Story emphasizes his acting talents with vocals secondary (“Look Over There”), and Michaels the reverse. Although Michaels exceedingly dramatic skills punctuate his songs with either pizazz or heartbreak. The latter, likely featured on the list of Top 10 Emotionally Powered Songs, is “I Am What I Am”. 

Central to the plot is Georges’ son Jean Michel (an accident that happened 20+ years ago) and his engagement to a girl. Yes, a girl. The actors in this straight family have little to do, which is probably why each (except mom) is rather stiff. 

Perhaps equal in emphasis, importance, and stage-time are Les Cagelles; the shocking, motley, and hysterically dressed and quaffed 10 drag-queen dancers/singers featured in the cabaret show within the play. Choreographer Paul McGill is obviously having fun, which is delightfully imparted to the audience, at the same time never forgetting precision. 

Kudos to costumer Rodrigo Munoz Benjamin Weigel, make-up artist Kyle Krueger, and the backstage, quick-changing dressers.

The audience cheers and laughs through the cabaret numbers, yet a suggestion would be some snips and tugs to save 10-15 minutes. Leave them wanting more. That said, some individual scenes are “must saves”; the acrobatics of the solo dancer in the elevated birdcage, and the macho grunts of the Village People.

One sign of a talented director is that no one notices the direction. Mike Donahue has done his homework and sets his large cast exactly where and when everyone should be.

The same theory essentially holds true for the orchestra of eight. The audience is oblivious to its professionalism.

“La Cage” clocks in at over two and a half hours (includes intermission). Yet, at no point did the production drag (pardon the pun). Success can be giving the audience what they want, or don’t know what they want until they see it.

Composer/lyricist Jerry Herman, of “Mame” and “Hello, Dolly” fame, in many ways replicates his own formula, lead-character exuberance, and plot. 

BSC’s opening show audience held back nothing. The matinee patrons whooped & hollered, laughed & shouted accolades throughout the performance. No shock that the musical’s end received an instant full house standing ovation. 

Review: Great Barrington Public Theater, "Dog People"

Great Barrington Public Theater, Great Barrington, MA 

www.greatbarringtonpublictheater.org

June 7 - 16, 2024

by Suzanne Wells

Photo by Kat Hume

Great Barrington Public Theater unleashed its summer season with a barking success,
premiering “Dog People,” written by the talented Leigh Strimbeck and directed by Judy Braha. This play is a tail-wagging triumph that will have audience members rolling over with laughter and begging for more.

“Dog People” is a comedic romp through the park that explores the complex dynamics between pets and their people. John Musall’s scenic design transforms the stage into a dog lover’s dream; an urban park that’s the ultimate sniffing ground for four-legged friends.

 

The story follows the lives of two dogs, Betty and Atilla, and their humans, Jessie and Avery. Sheila Bandyopadhyay and Chris Tucci deliver paw-formances that are both fetching and fur-tastic.

As Betty, a young, hyper, and somewhat neurotic goldendoodle, Bandyopadhyay captures the essence of puppy love, energy and curiosity, as she grows to becoming a well-rounded cuddler. Bandyopadhyay’s portrayal of Jessie, an overly disciplined individual, is equally compelling as she navigates the rough terrain of vulnerability and honesty.

Chris Tucci, in a dual role as Avery and Atilla, is simply “paw-some”. Avery’s sentimental and nurturing nature shines as he learns that life, much like a game of fetch, sometimes gives permit a second throw. Atilla, the misunderstood, easygoing, and lovable mutt, discovers that a little self-assertion mixed with kindness can transform a solitary existence to a pack life. Tucci’s performance is so spot-on, one might suspect he had a tail in a past life.

For humans who ever found themselves wondering what an alter-ego canine companion is thinking, this is a must-see play. “Dog People” is a story that reminds us that, whether on two legs or four, we all yearn for connection, understanding, and unconditional love. Plus, it’s a howling good time!

REVIEW: Hartford Symphony Orchestra, "The Planets"

The Bushnell, Belding Theater, Hartford, CT

www.hartfordsymphony.org

June 7-9, 2024

by Michael J. Moran

Melissa White

Their ninth “Masterworks” program ended HSO’s 80th anniversary season on a festive note,
featuring an HSO premiere, the return of HSO 2023-2024 Joyce C. Willis Artist in Residence, violinist Melissa White, and a beloved sonic spectacular.

HSO Music Director Carolyn Kuan opened the concert with an exuberant account of rising composer-educator Carlos Simon’s 2019 “Amen!,” a 14-minute tribute in three continuous parts to the music of his family’s African-American Pentecostal Church. Kuan and the orchestra captured the jazzy flow of the opening call and response, the soulful blues of the mid-section, which quotes the gospel song “I’ll Take Jesus for Mine,” and the exultant “Amen” spirit of the closing hymn.  

After her stunning HSO debut last October in Florence Price’s unfamiliar first violin concerto, White next soloed in a cornerstone of the standard repertoire, Max Bruch’s enduringly popular 1866 first violin concerto. With stellar support from Kuan and the ensemble, White skillfully shaded her tone from lean and silken for the haunting first chords, nimble and virtuosic for the following “Allegro moderato,” rich and full-bodied for the ravishing “Adagio,” to earthy and bubbly for the jubilant “Allegro energico” finale. 

Price's contrasting encore was a poised and graceful reading of the lively “Gigue” from Johann Sebastian Bach’s third partita for solo violin.  

The program closed with an electrifying performance of Gustav Holst’s 1917 suite for large orchestra, “The Planets.” The musicians leaned into the astrological significance of Holst’s descriptive subtitles for the seven movements, yielding: a shattering “Mars, the Bringer of War;” a magical “Venus, the Bringer of Peace;” a frisky “Mercury, the Winged Messenger;” a noble “Jupiter, the Bringer of Jollity;” a brooding “Saturn, the Bringer of Old Age;” a mischievous “Uranus, the Magician;” and an eerie “Neptune, the Mystic,” whose wordless offstage chorus was evocatively voiced by seven distinctive locally-based singers: five sopranos and two altos.      

 

One measure of the capacity audience’s full immersion in the program was spontaneous applause and a loud “Woohoo” after “Jupiter,” to which Kuan turned and gamely replied “I agree,” with the crowd’s approval.

Next up for the HSO is a free “Symphony in the Park” concert on June 15 at 2pm in the Bushnell Park Pavilion.

Review: Goodspeed, "A Complicated Woman"

Goodspeed, Terris Theatre, East Haddam, CT

www.goodspeed.org

through June 2, 2024

by Suzanne Wells

“A Complicated Woman” is a moving story of the life of John Kenley presenting at the Terris Theatre. “Complicated” is the perfect adjective to describe this musical. This show will open the eyes of theatregoers to the social stigmas of the mid-20th century, the overwhelming isolation of being “different,” and the beautiful bonds that can be formed with “acceptance.”

The play is based on pioneering legend John Kenley, born bi-gender, he is known for managing the Ohio summer stock premiers of the biggest Broadway shows from the 1900's, as well as his alternate life as Jean. Nora Bridgid Monahan is inspiring in the role of John; an ambitious, successful producer, as well as Jean, a fun-loving, sexual woman who desires a loving family. 

Nina May, portrayed by L Morgan Lee, represents everything Jean desires. A liberal, free-thinking, trans-gender woman who finds love and a family. Lee’s singing of “In the Light of Day” and “When I Chose You”, accompanied by Christian Brailsford as Oscar, Arewa’ Basit as Diamond, and Zachary A. Myers as Muhlaysia, is mesmerizing. 

Klea Blackhurst plays Myrtle “decidedly” well. Myrtle is the opposite of Nina Mae, representing the conservative mindset.  She presumes to be responsible for much of John’s success as long as he complies with the bible-belt’s social conditioning.   

Music and lyrics by Jonathan Brielle preverbally make toes tap and when combined with the vocals of L. Morgan Lee, become almost spiritual like a gospel choir. Set designs, by Tobin Ost, consist of an arch which transforms from bedrooms to offices to restaurants; and a billboard one can easily envision along a highway that transforms into a panoramic series of advertisements seen on the streets of New York.

The Terris Theatre is a small venue within a glammed-up industrial building. The lobby is a mixture of painted cement blocks and duct work with chandeliers, bistro tables and upholstered sofas. Within the theatre, half the view is of the stage, and the other half of the wings. While intimate, the stadium seating ensures that the audience will have a clear view and may even feel in the thick of the action.

From the location to the performance, nothing is uncomplicated in this poignant tale of diversity and inclusion.

Review: Playhouse on Park, “Toni Stone”

Playhouse on Park, West Hartford, CT

www.playhouseonpark.org

through June 16, 2024

by Shera Cohen

Temptation was to skip a play about baseball, albeit a potentially interesting subject matter of a woman, a black woman, in the 1930’s – 50’s, in a man’s world of the great American pastime. “Toni Stone” is testament to cease prejudging.

Toni Stone, the first woman player on an American major-level professional baseball team -- a regular for the Indianapolis Clowns in the Negro American League -- is the central character, who stands onstage from the opening scene caressing her baseball to the last scene a few decades later, trading in her apron for a return to baseball. Not to worry; this is not a spoiler.

Photo by Meredith Longo

Constance Sadie Thompson portrays Toni as a plucky young gal who knows early-on that baseball will be her life-time career. More than that, it will be her self-described mission to prove to the world and to herself that she is the best. Thompson, a non-Equity actor, creates Toni as a spitfire who is full of bravado; yet in many cases is scared and sensitive. 

Thompson is a young actress who seemingly, easily, carries the play’s weight on her shoulders. She is literally in the center of the stage and dialog throughout the 2.5 hours; a herculean role.

A suggestion to Director Jamil A.C. Mangan might want to cut several scenes and trim others. While almost reading like a beautiful poem to baseball, the opening five minutes introduce the play to its audience at such a slow pace that the actors are burdened with a stagnant start to launch action. The play is in its infancy, written in 2019, so there is time edit if needed.

The story is a biography of Toni Stone. The majority of the other cast members, all black males, become the ballplayers of the team; also cast in double and triple roles. The director distinguishes each player as a singular person, not merely one among many.

Branden Alvion as Millie, the woman of the night, gives the audience a personification of drama and commentary on men of that era, when congregated, can be cruel to women. Millie and Toni become friends; each at diverse ends of the definition of female. Their story is heartfelt and lovely, primarily because of Alvion’s talent.

Costumes are period baseball uniforms, primarily 1940’s. Even when actors portray roles that are not in the world of baseball, the costumes never change, yet all is clear to the audience.

At two points, “Toni Stone” pumps up the action with music and dance; quite fun at first. Later on, choreographer Maurice Clark gradually turns the baseball players/dancers 180 degrees; a joyful movement segueing into slaves’ lament in the fields of the America. The play becomes dark and raw; no longer fun and “games”.

This venue (POP) has a reputation of producing atypical, new, and/or relatively unknown plays. “Toni Stone” is among them. Those who don’t care much for baseball might become fans of POP and Toni’s near homerun.

Review: The Bushnell, “Beetlejuice”

The Bushnell, Hartford, CT

www.bushnell.org

May 28-June 2, 2024

by Jarice Hanson

If you think the stage production of “Beetlejuice” will be faithful to the popular film, keep an open mind and throw yourself into a fun-filled performance at The Bushnell. There are similarities between the film and the musical—enough to please the full house, many of whom were obviously fans of the original film, but seeing the story unfold on stage is a special treat. The story may be a bit silly and a bit of fluff, but the very talented cast of this touring production and their team put on a show that is entertaining, and just plain fun. Visually, there are more than a few moments that have a “Wow!” factor.

Justin Collette in the lead role is fabulously funny and knows how to work with a live audience to involve them in the performance. He charms and repulses the audience with his antics. Collette is a master of working with his voice. He can growl one minute, and shift to a full-chested belt the next.

 

Photo by Matthew Murphy

Playing the role of the young Lydia, Isabella Esler gives her music a beautiful voice and
impressive range. While her bio indicates that she is making her professional debut in this company, it also states that she “recently graduated high school.” Much of this show rests on her shoulders, and if this production is any indication of her ability to work on the professional stage, she has a bright future.

 

While the six principal performers have excellent voices and wonderful stage presence, the large ensemble of 20 performers work energetically in a wide variety of singing, dancing, and comic roles. 

Director Alex Timbers, Choreographer Connor Gallagher, and Scenic Designer David Korins have teamed up to keep the action flowing. Different parts of the stage seem to transform within seconds, an homage to the play’s filmic origin. William Ivey Long’s brilliant costumes set characters apart from the colorful, sometimes off-perspective backdrops.

The music and lyrics by Eddie Perfect (yes, that is his name) are delightful and whimsical, but unfortunately the Bushnell’s sound system can be tricky.  Collette easily overcomes the problem by careful articulation of words and lyrics, but some lyrics and lines by other performers are muffled or lost. 

“Beetlejuice” is not one of those plays that gives those in attendance a lot to think about, but it does raise spirits, draw the audience into a special world of make believe, and allows everyone to just relax and enjoy a good story. There were many children in the audience so perhaps it’s no longer necessary to sound this “warning” but there are words, gestures, and a few lines that might give a parent pause before bringing the very young to the theater for "Beetlejuice".  At the same time, there are many more moments of magic and folly that will entertain children of all ages.

 

REVIEW: Springfield Symphony Orchestra, "Magic & Glory"

Symphony Hall, Springfield, MA

www.springfieldsymphony.org

May 18, 2024

by Michael J. Moran

The title of this concert could just as well have been “Fearless Women,” with women as conductor and soloist, and eight local women receiving the SSO’s second annual “Fearless Women Awards” for the “courage, resilience, and empowerment” they exemplify, often “under the radar,” said SSO President and CEO Paul Lambert, who honored the six awardees who appeared with him on stage before the concert.

The program opened with the Overture to Wolfgang Amadeus Mozart’s 1791 opera “The Magic Flute.” From the solemn opening chord through the fleet urgency of the main theme, with an imposing brass interlude, Canadian conductor Tania Miller, recent interim leader of the Rhode Island Philharmonic, and the SSO gave a taut and brilliant account of this lively curtain-raiser.

Rachel Barton Pine

Perhaps the most fearless woman on the program was Rachel Barton Pine, who next soloed in Jean Sibelius’ 1905 Violin Concerto. She met the work’s fiendish technical demands with aplomb, varying her tone from hushed delicacy in the soft opening notes to sharp and robust in the forceful solo cadenza. The opening “Allegro moderato” was alternately suave and tumultuous, the central “Adagio di molto,” ravishing and warm, and the closing “Allegro, ma non tanto,” a boisterous romp. Miller and the orchestra provided vivid accompaniment.

Even more astonishing was Barton Pine’s tireless virtuosity in an entertaining, often hilarious series of variations on “Happy Birthday,” an encore which she dedicated to the SSO’s 80th anniversary this year. The large audience roared its approval and delight.

The concert ended with an electrifying performance of Dmitri Shostakovich’s 1937 fifth symphony. Miller’s spoken introduction highlighted the fraught political background of Stalin’s Soviet Union against which it was written, in a successful comeback after a devastating review in the Communist Party newspaper “Pravda” of the composer’s popular opera “Lady Macbeth of Mtsensk.”

Miller’s kinetic conducting drew from an inspired SSO: an eerie and probing “Moderato;” a klezmer-influenced “Allegretto,” with flashes of ironic humor; a haunting and heartfelt “Largo,” in which Miller put aside her baton to shape more nuanced phrasing with her hands; and a powerful “Allegro non troppo,” whose half-joyful, half-fearful closing notes remain, in Miller’s words, “an enduring mystery.”

The SSO’s next concert will be their second annual free Juneteenth “Freedom Day Concert” on Wednesday, June 19, at 3:00 pm.

REVIEW: Hartford Symphony Orchestra, "Mozart & Prokofiev"

The Bushnell, Belding Theater, Hartford, CT

www.hartfordsymphony.org

May 10-12, 2024

by Michael J. Moran

The eighth “Masterworks” program of the HSO’s 80th anniversary season presented three works in a ”classical” style and one recent piece in a more modern style. HSO Assistant Conductor Adam Kerry Boyles emphasized their differences rather than their similarities.

The concert began with Sergei Prokofiev’s 1917 first symphony, known as his “Classical Symphony” because he wrote it in the 18th-century style of Haydn and Mozart. But its four short movements – a buoyant “Allegro con brio;” a flowing “Larghetto;” a graceful “Gavotte: Non troppo allegro;” and a vivacious “Finale: Molto vivace” – also featured the spiky harmonies of his native Russia during World War I. Boyles and the HSO gave it a supple performance.

Angelina Gadeliya

Next came an HSO premiere, the 2016 piano concerto, “Spiritualist,” by New Jersey-born Kenneth Fuchs. In three short movements named after paintings by American artist Helen Frankenthaler – an ecstatic “Spiritualist;” a dreamy “Silent Wish;” and an exuberant “Natural Answer;” this colorful score was played with dexterity and imagination by Georgian-American pianist Angelina Gadeliya, with full-blooded support from Boyles and the orchestra.

Each painting was helpfully projected above the Belding stage, along with revealing overhead views of Gadeliya’s fluid hands at the keyboard.  Composer and soloist, both music professors at UConn Storrs, received a standing ovation from the enthusiastic audience.  

The program closed with two related 1786 works by Wolfgang Amadeus Mozart: the Overture to his comic opera “The Marriage of Figaro;” and the Symphony #38, nicknamed “Prague” after the city where it was premiered. Boyles and the HSO gave the overture a perky and playful spin. Their “Prague” symphony highlighted the mature Mozart’s variety of melodic invention in all three movements, from a mercurial opening “Adagio-Allegro,” to a radiant central “Andante” and a whirlwind closing “Presto,” which quotes an aria from “The Marriage of Figaro.”

 

Boyles is an animated conductor, who leads without a baton and whose toolbox includes a wide range of facial expressions, hand motions, crouches, leaps, and other postures, all in service of the music. His warmth, sense of humor, and easy rapport with audience and musicians alike bode well for his future with and beyond the HSO.

The orchestra’s final Masterworks program (June 7-9) of the season will feature HSO Music Director Carolyn Kuan and violinist Melissa White in music of Simon, Bruch, and Holst.

Review: Springfield Chamber Players: "Johnny Appleseed & other Fun Stories"

First Church of Christ, Longmeadow, MA

www.springfieldsymphonymusicians.com

May 12, 2024

by Lisa Covi

What is a happier childhood memory than a parent curling up with a picture book and being read to in your bed? Mother's Day in Longmeadow amplified that experience by gathering children of all ages at First Church of Christ to listen to three stories set to music (and a symphonic dance) performed by Springfield Chamber Players (formerly MOSSO). The composer and author of one of the selections were also on hand.

I don't ever think I will read or hear Munro Leaf's “Ferdinand, The Bull” again without recalling Marsha Harbison's braying violin playing Alan Rideout's arrangement for this story. Harbison introduced the tale, originally banned by fascists during the Spanish Civil War, as her favorite story. Martin Kluger's melodic voice narrated the tale – it was clear he is a vocalist and actor in addition to his other role as principal tympanist of the Springfield Symphony Orchestra.

Clifton Noble photo by John Crispin

Boris Kogan on cello and Clifton J. Noble, Jr. on piano next performed Camille Sain-Saeen's
“The Swan” from his larger work, “Carnival of the Animals.” The delicacy of this movement inspired Anna Pavlova's trademark interpretative ballet. The piano evoked the surface of the water upon which the cello's swan passes across.

The centerpiece of the afternoon was Clifton J. Noble Jr's arrangement for “Johnny Appleseed: The Legend and the Truth.” The children's choir of the First Church sang catchy interludes to Jane Yolen's story of the Longmeadow native's journey to Ft. Wayne, Indiana. Kara Noble narrated and introduced Yolen, who was present at the concert. The audience learned that Johnny Appleseed himself attended church in this very building. Michael Nix on banjo and Ellen Redman on flute joined the other musicians deftly enhancing the tale with original score and echos of American melodies.

The lively and euphonious afternoon drew active local families. Especially enjoyable were the projection of the text of the first piece and illustrations for all during the musical performance. Occasional imbalance of amplification made it sometimes difficult to hear the narration of the latter pieces.

The enthusiasm of the youth performers matched the professional musicians' dexterity. The opportunity for children to participate in the concert made a more impactful introduction to professional chamber music than my experience attending Prokofiev's “Peter and the Wolf.”

MOSSO's series continues with an outdoor concert in Longmeadow on June 13th at 6pm at the Maple Avenue Adult Center.

REVIEWS: Opera House Players, "Kinky Boots"

Opera House Players, Enfield, CT

www.operahouseplayers.org

May 3, 2024 - May 19, 2024

by Shera Cohen

“Kinky Boots” echoes many musicals of through the decades; the lite ones with no hidden layers to tax the brains of audience members. Sometimes, a little bit of that is needed. “Boots” is contemporary fun.

The plot is essentially a version of the tried ‘n true: let’s put a play on in the barn, where the town rallies to mount a musical despite all sorts of problems. Instead, picture a rundown shoe factory, backlogs of footwear, the recently deceased owner, and the son who must reluctantly come to the rescue. The “barn story” always ends as a rollicking success. It’s not a spoiler to say that the “shoe story’s” ending is the same, with its criteria of success being the creation of bright, red, shinny, high-heeled boots; aka Kinky Boots.

Kudos to the actors wearing these boots; a tough bit of choreography. No one fell, except for the one actor who is supposed to hit the floor.

Cyndi Lauper, known for her many years on billboard charts, is the talent behind “Kinky Boots,” having written the music and lyrics. The musical won Tony Awards and has been kicking up its heels ever since.

The cast or 25 and band of 5 keep the music front and center with the script in the background. While “Boots” is not an opera-like musical as are many today,  it is not ladened down with dialog either. This factor offers those in key roles at least one solo, and sometimes part of a duet.

OHP must be applauded for selecting some of the best voices in the Valley. Yet, this is not a
surprise with Producer Moonyean Field and Director Sharon FitzHenry at the helm. These community theatre veterans know their crafts and the skills of talent onstage and backstage.

There is the problem of the too many set changes. Community theatre productions should not stray from the story, nor the staging indicated by the playwright. Yet, there could be some ways to tighten up the lags. That’s just a suggestion for next weekend’s shows.

Lead Michael King (the erstwhile factory owner) is “everyman”. Sometimes, it’s more difficult to portray “a regular guy” than the star. The audience has fewer expectations. However, King shines as a singer. It is through the lyrics that he shows his acting  prowess.

Cecil Carter (drag queen Lola) puts his label on the show that goes beyond the play’s text. Cecil struts his stuff and sings dramatic pieces with power and angst.

“Boots” presents a balance of three big, choreographed numbers at the start, end of Act I, and the musical’s end. The motley group of shoemaker actors are joyous on stage. Between Eddie Zitka (dance) and community theatre stalwart Bill Martin, “Boots” keep moving from start to finish.

Review: The Bushnell, "Wicked"

The Bushnell, Hartford, CT

www.bushnell.org

through May 12, 2024

by Suzanne Wells

"Wicked" is a playfully, mischievous musical presentation at the Bushnell in Hartford, Connecticut. 

Photo by Joan Marcus

Through a dizzying myriad of themes, including nature versus nurture, the harm of classism, the detriment of excluding those who are different, and the power of hope, kindness, and love, "Wicked" retells the story of "The Wonderful Wizard of Oz". Beginning with the death of the Wicked Witch of the West, and in keeping with all funeral celebrations, curiosity brings about the story of the bemoaned Witch's life, her hopes and dreams, her hardships, her friendships, her enemies, and her romances, as told by her best friend, Glinda.

Glinda, played by Celia Hottenstein, is a popular, perky, effervescent character who “seems” to get everything she wants in life. Hottenstein’s comedic timing and vocal range enhances the character's outrageous audaciousness and truly shines in her rendition of “Popular.”

Olivia Valli’s dramatization of Elphaba a/k/a The Wicked Witch of the West, as an in-your-face, termagant forced into being the scapegoat despite her good intentions is the perfect counterpoint to Glinda’s flighty vivaciousness. Valli’s renditions of “Defying Gravity” and “No Good Deed” are breathtaking for both the artist and the audience.

The brusque, productive manner of Kathy Fitzgerald of Madame Morrible; and Tom McGowan's creation of the charming Wizard, are spectacular as the anti-heroes. Boise Holmes’ portrayal of Doctor Dillamond is emotionally moving.

As for the atmosphere, it’s definitely not Kansas. The scenery is a medley of vibrant colors making up poppy fields and the yellow brick road. The Emerald City is dazzlingly vibrant enhanced by the contrast of metallic gears framing the stage.  A variety of dancing from simple box steps to complicated ribbon and acrobatic routines add to the enchantment. The costumes, a mixture of wigs, colors, and textures, complete the bizarre elements of Oz, thus creating a world where everyone is different, and ultimately the same.

"Wicked" offers a multitude of sights, sounds, and emotions; one might have to see it more than once, to take it all in.